Transcript:

Interviewer: Okay. I love you to please herself for me in 1955, when you. When you. All right, just tell us where you are and how sort of this whole Maryland and Ed Fingers sort of saga came to be or that sort of.

Robert Stein: Well, in 1955, I was an editor, Redbook and. Marilyn was a returning point in her life. She had just come to New York, left behind her marriage to Joe DiMaggio, left behind her studio contract, which she was being sued for and was determined to start a new life and study at the Actor's Studio and become a serious actress. Up to then, she had been wildly successful playing in these jiggly movies. And apparently that wasn't enough for solo when she came to New York and start on all this. It occurred to me that it would be interesting. To see what her life was going to be like under these new circumstances. And I tried. To get her to cooperate, but without any luck. Finally, how to appeal to a friend of mine say, I'm sure you knew her well. And she agreed to do the story. And the photographer who was my best friend and find Gurche, who was sort of a daredevil who jumped from airplanes, lashed himself to periscopes of submarines. And we were going to do a story that would be totally on the fly. No set up snow posed pictures, not nothing premeditated. And she agreed to do that. And that's how we got started.

Interviewer: You have to do on Sachar. I mean, first of all, Sam shot don't quite a lot to do with her.

Robert Stein: Yeah.

Interviewer: I didn't choose him A and B. At that point, I'd like to just get a little sense of her sort of fame, her sort of fame quotient into coming into New York and why that kind of story? I mean, that was kind of a new kind of story to do at that point in years.

Robert Stein: Looking back, I didn't ask Sam to do the story because I wanted something different. And Sam knew her too well and I knew what Sam would do and it would be fine, but it wasn't what I was hoping for. And Sam knew I'd find Gurche knew about him and was very generous. We had shared an office once, a magazine and I worked for. And Sam said, sure, I'll call her. He did. And set us up. And we got we got started.

Interviewer: Did he have any kind of access to you, to the way in which you were going to spin this thing? And I thought it was because you certainly became someone editing your contacts.

Robert Stein: No, she didn't ask for any any control. She didn't ask for any. No restrictions of any kind. As a matter of fact, when we first met, she started our conversation by saying why they print so many things about me that aren't true. And I had been told that she never asked questions just for small talk. That she really expecting an answer. And I said, well, they print things about you that aren't true because pictures of you sell newspapers and magazines. And when they don't have anything to print, they either make things up or they print rumors and they really aren't looking to hurt you, just use you. And she gave me a look that said she knew all about being used. And so we one went on from there and she liked Redbook because she said Redbook never made fun of her, giving her an award as promising newcomer and took her seriously. So that.

Interviewer: We're hearing something that is heard, some kind of a beep or something. OK. Maybe also. OK. OK.

Robert Stein: So if you live here, you may have to.

Robert Stein: Change the order was the first time I heard of her. I was an editor at a men's magazine called Argosy, the managing editor, through a pile of pictures on my desk and said this Tutsi hasn't been a movie yet, but she's all over the place posing for anything. And so my job was to write captions for this ubiquitous starlet who would pose for anything. So that after a while she was more of a joke. Then not a serious figure. But the interesting thing always was if you looked at the picture, you could see that she was in on the joke. And that the joke wasn't on her cheek. She was doing exactly what you wanted to do.

Interviewer: I thought that I think she is fully participant in events. He absolutely used it as much as as much as he was used. She used it right. Also at the time, and I think 55, the Playboy Playboy existed as an entity in the men's magazine arena. And then at the end, the nude pictures had come out. Yes. So this was a very different take on her that you. I mean, you know, not that the only thing about her was to do these little nude and pinup shots.

Robert Stein: But since the Playboy pictures, she also appeared and, you know, four or five big production, 20 century musical movies. She met in seven year itch. And she was a star. She drew people into the theaters. There was something about her that magnetised people. But apparently she wanted more.

Interviewer: What was she like to meet? Was she.

Robert Stein: She was. He's totally open and available. As you could expect, there was no Movistar facade, and if anything, there was a kind of vulnerability where she seemed to be more interested in your answers than in her questions. And I felt at the time that there was some combination of innocence and guile, God going on, but the innocence was genuine. But that she was also putting me in a position where I would feel responsible for protecting her. And I think that was typical of her.

Interviewer: And how did you respond to that? I mean, did you feel then. Did you feel protective of her and feel that you are? I mean, certainly many people didn't. Many people felt that it was perfectly OK to take. I it take.

Robert Stein: No, it wasn't, but it wasn't in my nature to tell her one thing with the intention of doing another. But we were just going to do the story and see worried letters. And what was surprising was how far it led us into her life that once she let us in. She just went on and was herself and only had moments. Would she tease or, you know, print for do something? But it was always, you know, with a glint. She knew what she was doing. But the rest of the time, whether she was involved in what was going on in her life or whether she was sitting alone at the end of a day with a drink in her hand looking depressed.

Interviewer: You're saying that he was a sort of as open and as available as you could imagine that time period? Look, she looks like that. He knows. I mean, I'm thinking also of the way shot photographs at the Actor's Studio. Ed and I want to talk about it's also particular him as a photographer, but she herself to look up her in that time is very hopeful. It is very she is very ready. It looks like, to take on the role. And she doesn't she doesn't look as sort of a completely spent as she is. Certainly she does by the end.

Robert Stein: Well, also at the time, although we didn't know what she was involved with, also Muller and she had visions of a different kind of life with someone she had wanted very much and look forward to being part of a family and having the kind of life she didn't have with DiMaggio, who was a loner and who, although he obviously adored her, did more for her than. So that. She was expectant in many ways about her work, about the kind of life she would have outside of work and about. Learning new things and try new things.

Interviewer: Do you feel that that story at that time was quite a typical of ways in which she had been being handled by the press up until then?

Robert Stein: Know you was you. It wasn't wildly original, it was actually a modest story. That said, you're used to seeing Marilyn Monroe blowing kisses to the camera, you know, being sexy, doing all the things you'd expect her to do. And this is what she's really like most of the time.

Interviewer: Well, actually, the best part of a week.

Robert Stein: Yeah. On and off, because, you know, there were several evenings, one where she went to the premiere of Cat on a Hot Tin Roof. Now, though, when she went with us to Castelo Saloon, another way, she rode the pink elephant at the circus.

Interviewer: And, of course, the satellite stuff. So, you know, in the dressing room, staff getting dressed in that, you know. Can talk about him and talk about why him in your mind. He was a photographer then and his own personality.

Robert Stein: Well, he was a lot like Marilyn. There was a basic innocence to an innocence and an openness to life and people's sense that I think the response to Marilyn movies and to his work was that you were being. Given access to something you don't normally see, that there was a direct connection and the people who saw Marilyn and admired her also felt some trepidation, some worry that that innocence was dangerous. And those of us who cared for Eddie also felt the same kind of fear that he need to be so rawly. That's the heat. That's.

Interviewer: What do you know.

Robert Stein: That his approach to his work. It was so intense. It was his life. And for Marilyn. It was pretty much the same. And we had some of the same characteristics. Marilyn Wooding appear on a site until she looked perfect. Eddie wouldn't let anybody else edit our crop or print his pictures. He was the one thing in life that gave them their identity. Frankie sensed that in her and she knew my connection is in the pictures.

Interviewer: Absolutely it is. And she I mean, the one that we know and we see is this constant. Her ability to communicate with the lands is really extraordinary, particularly with the still with the still camera lens somehow. And his those pictures of his are just they are there. So there's something about them that's so intimate. And so there is a certain trusting us in them. And I think it's really remarkable that I don't I don't see so much even people like Sam Shalva, she did do a ton of work with her, was around a lot. It's a different kind of a more posing or a more sitting for him being aware of him attitude than there is with that.

Robert Stein: And the interesting thing is that she had. More clue, she had closer relationships with many photographies friendships with Eddie. It was all the two of them in the camera. And that even when we were at Costello's, you know, and he stopped taking pictures. There there wasn't anything personal going on. It was as if they were communicating on some plane that was beyond that. And. What tortures me is how many pictures of Marilyn he took that week that no one ever saw. And no one ever will see because he wouldn't print out contact sheets. He would select them and print them. And after he died, all of his pictures were lost and found 30 years later in a warehouse. And so I'm sure even from my own memory, that they're not all there. But luckily, enough of them survived.

Interviewer: How did he feel about this assignment and about meeting her and about hanging around with her?

Robert Stein: It's the story we typically Marilyn Sam sure set up an appointment for us to have a drink with Marilyn at her hotel. And typically Marilyn, she would call us when she was ready. And, of course, that was always long after she said she would call us. So Eddie and I were sitting around drinking in my apartment. And finally we got the call and we nonchalantly sorted out and got a cab or so we thought. When we came back, I open the door and looked at a streak and there were two scarves in a straight line pointing at the door. So we had taken off in a big hurry. So I guess I guess we were excited.

Interviewer: But how did he even. How did he. Itself is this. Was he excited by this, was this. I mean, she was.

Robert Stein: He was excited by everything. He was excited by anything he was going to photograph. So there was no no difference. It was Marilyn Monroe or some speeding car drivers or. You know, it was. He was going to try to see into what he was photographing, to see past what he was photographing.

Interviewer: And he really does. I mean, he really does use my arms, too. Also think, you know, that one child or she's sort of like this, she's in that cost over the elevator. She sort of has. I mean, so she she was clearly not editing herself around him in any way and certainly not feeling, you know.

Robert Stein: He was making himself as invisible as you can be. Even in the time I was with me, he never asked her to do anything and she never told him to do anything or not to run.

Interviewer: What was he using these.

Robert Stein: 35 millimeter?

Interviewer: My thinking is there are there things they should be thinking? I think we're missing. From your perspective, from your perspective, just at that time there being a magazine editor at that time, tell a little bit about what the magazine Redbook was about then. I don't know it. And also that I mean, this whole celebrity culture that has only escalated endlessly. Even the whole sort of I was thinking about this with George, actually, also about the seven year EPS picture taking. This is also controlled down, Inga Morath, interestingly enough, said this to me when we did The Misfits shoot about trying to get next to these people to shoot pictures that somehow got inside them. It doesn't happen. Can't happen now in that way at all. Because then even if those are set up, they're set up with publicists. And even except not to say that this wasn't set up, but there was a certain amount of accessibility to her and a certain amount of time that's quite different than now. And this culture that's upon us, of which she has only maintained and even transcended her time, is she? She's as much a part of it now as ever. And yet the tone of it then was still so different then.

Robert Stein: Well, the tone of it was different for her for several reasons. One. Magazines still had a certain amount of power, as they really don't today, it's all television. So get a magazine cover and a story could make a difference to the success of a movie or a career. And. In the kind of magazine Redbook was, you know, beyond the fan magazines, what we try to do. Was to. Offers some insight. Into what? Movie stars were really like, instead of doing the canned kind of stuff that the fan magazines did. So we were maybe a little pretentiously, always looking for some point. To this story, why? We're going to tell you something. That you can connect with and with Marilyn at that time, the connection was with someone who I stand simply at everything you could ever want. All the fame in the world, tons of money, all the adulation. And it wasn't enough. And walked away from just about all of it and was trying to reinvent himself.

Interviewer: What was it? What was the tone in New York, actually? Yes, I was amazed when you sat in a place that Costello's are that I know that the people on the subway I know you told me the subway shops are sort of set up, but New York, New York can be kind of good at letting you be a bit incognito.

Robert Stein: Here and in Costello's. Either they are being respectful or they didn't recognize you, as matter of fact. At the bar as we were leaving was. One of the patrons was the chief photographer for Newsweek, and he tapped daddy on the arm. To be coming back later. Bring your little friend. So he really didn't know it, but she wasn't being Marilla. That. She was a beautiful, fragile looking young woman. But she hadn't turned on that in her life. That made her recognizable as Marilyn. And I think she liked having the freedom of being that way. And I don't know. What turned her life would have taken if she hadn't been involved with Miller. And seeing. Marriage and that kind of family life. She'd never known as an answer to whatever emptiness she felt inside.

Interviewer: Did you feel that around her, that there was this great longing, this great emptiness in her, this loneliness? Or is that another thing.

Robert Stein: That was really palpable? Was palpable was. Her innocence. Her openness. And her vulnerability. That. If you said something to her. That was either aggressive or hurtful. I was sure she would not turn on that movie star defense, that you'd actually be hurt. And so you made you want to be very careful with her.

Interviewer: I talk a little bit about the Diana chilling stuff also. And after she died. And also a little bit about the fascination with her. And Stern, in terms of your world and the literary the literary world, the Mailer's, The Glorious that Joyce Carol Oates, Truman Capote, these people that you've known and who have written about her and that and written about her in kind of every again, every twist and turn of the road, some other respectful, some rather tawdry, some very aggressively, some, you know.

Robert Stein: Well, I think the way they write about her tells you more about them and about her. I think the reason she fascinates people and people with some substance as writers is that. Most celebrities get to be celebrities by being shameless. Most most of them know what they're doing. And they don't care. It's that old joke about if the devil offered you fame and money and fortune and to become a star. But you had to give up your soul. Would you do it? And the answer is, what's the catch? Marilyn. Wasn't shameless in any premeditated way. She was shameless because she was innocent. And I think that's what drew people not only to her work, but to her person. And that's why they're still so fascinated about how she maneuvered her way through life. Using that innocense. And at the same time, being so vulnerable because of it and how it led her into these different paths, she could just as easily have stayed in Hollywood, divorce Joe DiMaggio or not. And made tons of money being Marilyn Monroe in 20th century musicals. But at the age of 28, it wasn't enough. There was something missing. And I think it's that. The drew people and still draws people to her, but. They want to know they have a sense. At the time of wanting to protect her. And still understand why. She couldn't protect herself. And as time went on. She began to show a little. Of what she was capable of in her work. Although she never became the actress, she hoped to be in movies like Bus Stop. Even The Prince and the Showgirl. And, of course, The Misfits. You begin to see some possibility. But there wasn't enough toughness. There wasn't enough self protection so that she was out there. That scene in The Misfits, where she's out on that open plane screaming to save the horses, is a perfect image for Marilyn in life. She tried to save birds, dogs, cats, trees, and we'll see. Has this. Sense of connection to everything in life. And. You have the feeling just like in that scene. That she was so exposed and it was so dangerous for her and that there was no one to protect her.

Interviewer: I want to catch you. It's very interesting that you bring that scene up and in particularly because you saw the film when you thought said about it because his ideas supposedly had been that they should have close up and that she and it was Houston who sort of put her out there to scream. But it went. But misfits itself to me. Isn't it such an amazing example of I what I also think was this other schism in her? Because the other great story to me at Misfits is a set the second it was over after and the marriage is falling apart. And certainly all this is happening. But that whole wanting to be taken seriously, wanting to be given a serious role, wanting to be that the second it was over, she took a while. They weren't even close with them at all. At the end of the shoot and they went to L.A. and she immediately did sort of a nude shoot, you know, a bathing suit, this sort of cheesecake shoot again, which was almost it was almost my feeling was, is that she really that being a star, she didn't want to lose that to being an actress or to being considered a great actress.

Robert Stein: Well, possibly. Maybe she had felt suffocated by Miller's seriousness and want to get out from under that and go back to being something of what she had been before.

Interviewer: I know there are great truths in that. I mean, in that film, because he really did write that with her in mind, with sex or not. And when you read Time Men's and some of the things that Miller wrote about their life together, it was just what you're saying is true, that she this whole that whole protectiveness about the animals was absolutely in her that protectiveness about life was absolutely under the exact great line in. There's that great line, OK, about that. You're the saddest woman, I think is the saddest girl I ever saw. That that's a straight out of their life. And it's so there is that. Very interesting. That was quite close to the bone for her. And you're right. And maybe that's it. She had to flee from it.

Robert Stein: You know what? We're not talking and we can say this in a friendly way. Is one of these about the misfits? To me. Was how lost she was in it. That the whole picture revolves. Around every man. Desiring her. In one way or another. I love the sense she wasn't there. She was trying to figure out what the hell am I doing here?

Interviewer: I think you told me.

Robert Stein: Because I don't think Moore had written her. In any way that corresponded to who she was or who she could be. I had written. Some Apolo Gere for his own feelings about her, something about his conflict, of his feelings about her, but he hadn't written her. And I think the reason the movie ultimately fails is because. She's not really there. It's an idea of her. It's it's some kind of emanation of her, but if you looked at it without knowing anything about the origins or fragment, you say, what is that woman doing in the movie? She's. Groping for something. But it didn't seem. At least for me, it didn't feel as if she were really there.

Interviewer: I will that you know.

Robert Stein: Yeah. You know, there's all stuff about, you know, she'd been involved with long time. And so. She aruz perfect pitch. For bad guys. Except except for DiMaggio.

Interviewer: You think I maybe. I mean, we I've also read that people made the comment, chip perfect. She had bad judgment. She had some sort of perfect pitch for bad judgment. And people I Strasbourg too.

Robert Stein: Strasbourg, you know, was a monster cause used them like Kleenex. Your guy knows all of the others. Probably Johnny Hyde, DiMaggio and the fringe man who weren't her lovers. People like Norman Ross and Sam Shaw. Who loved her? But then weren't involved with her sexually. We're much closer. Giving her what she needed. I wish I could be more generous in my feeling about Miller. The. He obviously in some way adored her. But that could never get through his vanity. In Joe DiMaggio, she had someone who adored her but didn't have enough together. Yeah. You wanna at the breakfast table and read the paper and watch ballgames on television. But he was totally her slave. He loved her. Never stopped loving her. Miller had all this to give her. And she said the interviews when she was alive, he taught her so much. But. That deep connection wasn't there. And it's interesting that Millard. Didn't do any significant work in that period of that Maharishi's. So he he paid a price.

Interviewer: And I think still continue to work it toward, as I say at the end, it was done.

Robert Stein: Yeah, well, my feeling is he never had that much to give, Larry. He was an. A talented man. Who caused something of a zeitgeist with Death of a Salesman? Crucible of you, if you look at the crucible now. In the context of give me an answer, the McCarthyism, it was sort of amateurish by now. But, you know. As one of the millions who don't have a fraction of his tower, I don't want to be self-righteous about it. But. I think I think in Maryland, he. Was looking for something. He couldn't handle it. What was it? I don't know if anybody could have, you know, the Diana trolling the day I truly am.

Interviewer: About I talk a little bit about that, about who she was.

Robert Stein: Well. Diana Trolling was a literary critic, essayist, wife of Lionel Trilling, one of the pre-eminent critics of the mid 20th century and lived in a rarefied academic world. And when Marilyn died. She was distraught. She said she had never been interested in Marilyn Monroe and seen a swatch of a movie one night on television, and suddenly the room lit up and felt connected to her and was moved to write this essay while she was talking about a dinner party. And we asked her to write it of what Marilyn was about. And she felt very strongly that the innocence and the vulnerability. Were inseparable. And Marilyn. Looked for experience, looked for a connection. Never found it. And so each time she was starting over again. That's why psychotherapy couldn't help her. Psychotherapies read it later and said, yes, true. And that she. Was a figure that millions, particularly women. Wanted to save. They didn't feel threatened by her. Her sexuality wasn't. Exploitive. That it was. As my eyes so open for the time that it was disarming, it was saying, you hear him, I'm beautiful and men desire me and I respond, it's OK. And so the. When she died, there was a sense of something. Lost in the world some. And none of the imitators, none of the manufacture Marilyns, you know, that came for years during our life and after ever quite. You were the same.

Interviewer: Well, I was gonna say that something really was lost in that. I suppose if it was okay. I agree with you. I mean, in some ways to sort of sort of foist upon her a whole feminist critique of her life. I don't know. I don't think she felt.

Robert Stein: I don't think she resigned, but.

Interviewer: She did not. But the thing I wanted to say about that sort of love, you know, she's not you around the feeling that that aspect.

Robert Stein: I don't think she couldn't. She didn't know she.

Interviewer: And the and there is that loveliness about just her own acceptance and. Liking the fact that what of what this was, but the maintenance now, the persistence now of that? That's what I that's when you say there's no one who could come close. And the fact that there's a gap due to the screening, William neighbors. He was the photo editor at Fortune for a while. Well, he interestingly enough, he taught Curtis Taylor, who's in the Misfits film, who's the son of Franco. Did you know Frank? No, I saw him in. He must have been wonderful anyway, just because he occurred as his son introduced me to this, to William neighbors who they teach at the School of Visual Arts together. And William Nabors starts his course with the Misfits, even though he's teaching still photography or they're doing something, still photography. But he uses the Misfits. And he told me and I think this is so interesting, too. And it's interesting in terms of what you were saying, people look at the kids, look at this picture parent in this film, and they just can't find her at all in this film. They don't understand. They don't understand her in it. But also that to sort of this now generation, she's had a film actress at all. People really don't know her films. They know her by this incredible legacy of still photograph.

Robert Stein: The posters. The posters. I think there may be a million websites selling posters. Lina. She's not. And her face displays a two dimensional icon drama. And. I wonder how the many maybe. Maybe they take as. No indication of how naive their parents, you know, were and. She wasn't cash passionate. And the truth is by today's standards. Her body isn't that hot in her. Even her manner. I like turning in the prince and the Showgirl, which, you know, most people sort of distain. Because there was something. Of her in that even though Olivier apparently hated making the move, he couldn't stand being there with her. But. Something comes through.

Interviewer: Kind of tough minded in that movie. That was a tough minded moment because that's what she was making. It was his second film after bus stop. I think that was her company. \.

Robert Stein: Miller, I think, had gone with her in my right.

Interviewer: That was right when.

Robert Stein: You actually. She was right. But it really is hard to Frank. Of a movie. Does her justice. You have to go back. So little swatches of arms for jungle. And even clash by night. Where there is no pressure on her. And she's just doing. You know what she does to see the sweetness?

Interviewer: Did you feel. Does it surprise you now? I mean, having met or having known or having commissioned this great story with beautiful photographs. Does it surprise you now that this is still so palpable that she is still so present?

Robert Stein: Somewhat, but not really. When when I started out in the 50s. There was a world of celebrity seats. You know, people. Whose names and faces alone were enough to evoke interest and they each represented some quality public, was interested in Marilyn Monroe's sexiness and beauty, Jack Kennedy vigor and holiday and all the rest. But then in the 60s, with television and the cultural changes, it changed from a world of celebrity scenes to disposable celebrities. You know that they would come and go and get used up like Kleenex. I would put people on the cover of magazines. That's six months later you'd say who are. So there's something about her being rooted in that era when. To reach the peak of celebrity. Involved time and effort. And so maybe beyond whatever qualities still draw people to her. There's a fact that she comes from that air era because after that, you know, movie stars, you know, came and went and, you know, we're usno up like peanuts. So. That may be part of it. Elizabeth Taylor is an interesting contrast. You know, Elizabeth Taylor had just as interesting and turbulent. Alife. As Marilyn. But yet. People didn't connect with her in the same way. Because she was an. Out there is available by now. I think, you know, a lot of Mylan's appeal is kind of one dimensional appeal of a name. You say Marilyn Monroe. Whole generation still had some response to it, whereas 99 percent of the people of her era are forgotten. If you said Montgomery Clift or even Clark Gable, they might say who so.

Interviewer: Well, we noticed this even in the last year. I sort of thought that Dean held some of the same place. News that you hope that he didn't. He doesn't anymore. It's very it's very, very interesting because if you also put them in, the beautiful people died young. You know, he he didn't have that doesn't have the same moment that she does still. Well, Dean didn't have enough time that she had a little bit.

Robert Stein: Before his essence to come through. I mean, he was in three pretty good movies. He was pretty good directors. It would have taken a few more years. I think her essence doesn't seem, as you even said, even though she could have and was better at other things, perhaps the Misfits, her essence really seems to come through in the still photographs. I think, you know, you're right, because if you if you sat down and watched all of her movies in one sitting. You still wouldn't understand why she was so special. You get some glimpses, some hints. No, I don't think the movies add up. To the answer. You know, I wrote this piece about what happened 50 years ago because. It occurred to me that after 50 years, people would still be interested, but I look back at all the things that happened to me and that I did during that period. And there's very little, you know, that has the same lasting quality that, you know, even presidents. A lot of experience was Lyndon Johnson in Jackie Kennedy, but I don't think this generation would care that much about this.

Interviewer: She was a mother. Okay, great. Wonderful. Wonderful. And we have to get some action. Can we shoot them? They all make it. It's still not just that I get thirty six seconds of quiet time. We do this.

Robert Stein: Well, if you look at all of the movies she made, they don't add up to the answer of why she still has this appeal. You have to look at the still photographs. You know, for thousands and thousands, you know, that show her essence. More or less social significance? Well, a little bit of sex, you know, until the horrors and a little bit of sex. I love Sturges movies and the magazine culture. It was a period where mass magazines, very largest, were all having trouble because of the advent of television that if you wanted easy entertainment to get, you put your feet up. At the end of the day, you didn't have to bother read. You just turn on the tube so that in order to survive, the best magazines were turning toward more substance, more meaning in order to attract and to hold readers. And Redbook was that kind of magazine that had been a Journal magazine and was now appealing to young women and then appealing to young women. Part of the theory was that they were better educated, had more insight and would be willing to listen to more serious subjects. But still, we had to attract them with articles on celebrities that they were interested in. But we had to try to do it in a way that had some depth, some meaning and wasn't superficial and wasn't out of the old fan magazine tradition. So wanting to do Marilyn the way we did her was in line with that kind of ambition. I think young girls, Marilyn or Marilyn with some reality, as opposed to the Marilyn who posed for pictures. Thank you, Ms.

Robert Stein
Interview Date:
2006-02-22
Runtime:
0:54:06
Keywords:
American Archive of Public Broadcasting GUID:
cpb-aacip-504-7p8tb0zb5j, cpb-aacip-504-n29p26qs23
MLA CITATIONS:
"Robert Stein, Marilyn Monroe: Still Life." American Masters Digital Archive (WNET). 22 Feb. 2006, https://www.pbs.org/wnet/americanmasters/archive/interviews/648
APA CITATIONS:
(2006, February 22). Robert Stein, Marilyn Monroe: Still Life. [Video]. American Masters Digital Archive (WNET). https://www.pbs.org/wnet/americanmasters/archive/interviews/648
CHICAGO CITATIONS:
"Robert Stein, Marilyn Monroe: Still Life." American Masters Digital Archive (WNET). February 22, 2006. Accessed May 24, 2022 https://www.pbs.org/wnet/americanmasters/archive/interviews/648

© 2022 WNET. ALL RIGHTS RESERVED.

PBS is a 501(c)(3) not-for-profit organization.